Playbox’s latest show well-crafted, with excellent performances

Show: One Flew Over the Cuckoo’s Nest

Presented by: Hamilton Playbox

Venue: Riverlea Theatre

Dates: October 12-26, 2024

Many people will be familiar with Ken Kesey’s 1962 novel One Flew Over the Cuckoo’s Nest, and the popular 1975 film. The 1963 play adaptation by Dale Wasserman is less well known, but as the film took off, it enjoyed a resurgence.

For Hamilton Playbox director Lawrie Johnson, this was a show he’d had his eye on for many years. With Amanda Macek as co-director, the pair have worked with a large cast and some complex material to realise their vision.

First up, the play is a success. The characterisation is well executed with many highlights, especially from the performers.

Hayden Newport (Shortland Street, The Twits) brings manic energy and attitude to the demanding lead role of Randle McMurphy. Newport is physically and vocally deft, relishing McMurphy’s self-interested excesses, while showing a softer side as his empathy grows. In a recent interview Newport said this was “a bucket list role”, but it’s no Jack Nicholson pastiche. Newport, an experienced stage and screen actor, makes it his own and didn’t miss a beat for me.

McMurphy’s desires for a freer and less institutionalised life for his fellow patients, is pitted against the austere ‘therapeutic’ routines of the imposing Nurse Ratched (Julia Turner).

It’s much harder to show intensity of mood and expression without the handy film storytelling device of close ups, but Turner’s characterisation is effective in conveying the dominance and manipulation of Ratched. With slow and deliberate speech patterns and movements, arched brows, pursed lips and chin tilts, the attitude and strength of ‘the big nurse’ is achieved. 

The supporting cast is excellent and at every stage there is focus and character. Each of the inmates expresses believable, repetitive physical traits that are present, but don’t distract. For example Cheswick (Seattle Tupuhi) twitches his legs while Scanlon (Arthur van Ressegham) silently draws game grids on his leg as he sits at the edge of the therapy group.

Danny Bailey’s interpretation of the vulnerable and often childlike Billy Bibbitt is excellent. This is a vocally demanding role with high emotion and physicality, all solidly done. I also enjoyed Greg Hack as Chief Bromden. This role requires physical presence which Hack has, and the narrative soliloquies provide back story.

Nick Clothier is excellent as Dale Harding, a bright yet scared and repressed soul. A target of Ratched, Clothier shows the mix of emotion with skill and it is satisfying to see Dale slowly finding a voice beyond his psychological confinement. Ron Dalton brings laughter from the audience as manic and often bewildered, Martini, a physical and strong performance.

A special mention for Adam White as the catatonic Ruckley. It’s no mean feat to stand against a wall and maintain a fixed pose and expression that is both humorous and tragic. It’s a testament to White’s acting and good direction that this character has stayed with me. In this ensemble, much is made of small glances, downward head movements and avoidance. It makes for a good contrast when the group, emboldened by McMurphy, become more expansive and freer.

Aside from Ratched, the roles for women in the script are minor but Alice Field as the timid Nurse Flinn is very crisp and polished, and Sherrie Roue brings verve and energy to Candy. Along with Caitlyn Blake as Sandy, they all make the most of their on stage time.

The staff team includes Sean Dwyer as Dr Spivey and I loved his performance of the reasonable, considered and realistic doctor, and the way he related to both McMurphy and Ratched. Hugh Field and Alex Smith as ward staff, Warren and Williams, were also focused in roles with little dialogue but a lot of presence and John Turner has fun as corruptible night watchman, Turkle.

The production elements were excellent. The set design, painted in ‘institution green and cream’, had well-constructed corridors and doorways leading off to other spaces and adding depth and plausibility.

The costumes and hair were era and context appropriate, and the props and interactive elements on stage complemented the action well. The occasional forgotten door lock and a few accents dropping towards the end as action ramped up are minor quibbles in what was a thoroughly excellent production of this iconic story.

Highly recommended. Tickets: https://www.iticket.co.nz/events/2024/oct/one-flew-over-the-cuckoos-nest